Little Shop of Horrors

There’s no denying the appeal of Little Shop of Horrors. It may be based on a B grade movie, but it has an A+ grade score and book - arguably the best work ever from Ashman and Menken, and real depth in the subtext and life lessons. In short, it’s a bloody good musical.

Director Dean Bryant has never been known to let subtext or character get in the way of High Camp, but this is one occasion when it really works. The concept of Act One being entirely monochrome like an old movie is brilliant, though the set (designed for the Hayes in Sydney by Owen Phillips) does seem a tad small for the stage of the comedy. Still, it all works, thanks to a stunning cast.

Seymour is the role Brent Hill has always had on his bucket list, and he doesn’t disappoint. He manages to make “nebbish” Seymour entirely lovable and endearing, even when he is feeding people to the blood-thirsty plant Audrey II. Hill’s performance is so seamless and seemingly effortless, that you literally do a double-take at the realisation that he is also voicing the alien plant Audrey II. And Audrey sings even better than Brent, especially in the Funky “Git it”. Once you do realise, it adds a slightly schizophrenic or psychotic element to Seymour which I doubt was intended, as it’s subtextual. But one can’t help but wonder at the talent that is Hill, and how well it is used in this production.

Esther Hannaford is simply wonderful as Audrey – a classic “B” grade movie performance with every nuance perfectly realised. She’s vulnerable, OTT and wildly funny throughout - but when she opens up those pipes and delivers “Suddenly Seymour”, we realise that she truly is one of the great performers of the Australian stage.

Tyler Coppin gives his usual flawless performance as Mr Mushnik. It’s perfectly centred and 100% believable. Scott Johnson wasn’t, for me at least, the right casting as the dentist, but that’s simply personal taste.  There will be many who love the performance. Josie Lane, Chloe Zoel and Angelique Cassimatis are terrific as the girl group, and Andrew Hallsworth gives us super crisp and tight – if limited – choreography. It’s not a dance show but Hallsworth’s movement is spot on. Lighting by Ross Graham is always interesting and Tim Chappel’s costumes work beautifully, especially in Act One, proving that black, white and shades of grey can be exciting.

Lee Lin Chin makes an on screen appearance forecasting the end of civilisation and plays it to the hilt.

And then there’s Audrey II, an incredible creation by ERTH puppetry. Though she completely dominates the stage in Act Two, there is no escaping the awesome creativity in her execution.

There’s an extra sense of menace in this entertaining production, largely due to Audrey II herself.

My two quibbles are the harsh nature and level of the sound - hopefully just an opening night problem, and the fact that Act Two seemed a little flat and lacking in energy compared to the glories of Act One. Rather than ramping up the schlock element and playing it as OTT as possible, Bryant goes for something more intense and menacing, which didn’t quite work for me. Bryant and his team are at their best when they let High Camp loose on the stage, and Act Two was a missed opportunity to indulge in pure “Perils of Pauline” type Melodrama. The filmed war footage appeared to be from Bosnia and was oddly out of kilter; perhaps something more sci-fi - like “Earth v The Flying Saucers” would have sat more comfortably. Entrances and exits (and there are many) were often wooden and uninspired, and blocking too often had artists standing in a straight line downstage.

But for sheer fun entertainment, and lots of laughs in act one, you should probably put this on your “To See” list.

Coral Drouyn

Photograher: Jeff Busby